야담의 근대적 형식과 야담 작가의 성장

Abstract

There is a new literary style that emerged in the late Joseon Dynasty by paying more attention to the narrative, based on the literary nature of the handwriting that recorded experiences. It is none other than ‘yadam (野談)’. This is a literary style that has grown by paying attention to the lifestyles and voices of the lower classes and recording aspects of socio-economic desires that have been formed over time. Yongjae Chonghwa (慵齋叢話) and Au Yadam (於于野談) were the works that set a notable inflection point in the early and mid-Joseon period, and the origin of ‘Yadam’ was also born from these two works. In a way, it can be said that yadam was formed by adding acceleration to the recordability of handwriting, as well as stories created by unusual characters and bizarre events to be commonplace, and realistic literature developed in a real space as the background. The emergence of the three great collections of tales that focused on the narrative in the late Joseon Dynasty is a good example of this, and so is the existence of the 'Short story written in Chinese characters' excavated therein. As such, Yadam is a literary style that responds sensitively to social change and adapts in that it is a literary form of the oral narrative aspects of folklore in the late Joseon Dynasty. This is because it means that they had a deep interest in not only the upper classes of the Joseon Dynasty, but also the storyboards of the private sector. However, the popularity of Yadam in the late Joseon Dynasty had certain limitations in the face of the modern era to come. Above all, the writing method was changed to Hangeul after Gabo-gyeongjang (甲午更張, 1894), and the new literature had to compete with the media environment replaced by newspapers such as newspapers and magazines as it was dismissed as old science. However, Yadam in the late Joseon Dynasty was already preparing for its own transformation by setting up a formal framework by itself. This paper examines Imbang (任埅)'s Cheonyerok (天倪錄), Lee Wonmyeong (李源命)'s Dongyahuijip (東野彙輯), and Chunggoo yadam (靑邱野談), which gave standardized formal beauty such as titles and comments to the tales accumulated in the late Joseon Dynasty. This is an attempt to actively understand that the collection of tales from the late Joseon Dynasty built a kind of platform from the perspective of compilation consciousness. Since then, Yadam, who met a new era in the media and book publishing of modern newspapers and magazines, activated a compilation consciousness considering the readership, changing the means of writing from Chinese to Korean, and at the same time trying to give titles in various ways. I compared it to the situation. To understand the understanding of the unidentified manuscript Cheongya Damsu (靑野談藪) published in the modern period by Hyeon Gong-ryeom (玄公廉)'s Dong-seo Yadam (東西野談), and Park Geon-hoe (朴楗會)'s ParkAn-gyeonggi (拍案驚奇) (1921), Nokdong (綠東) Choi Yeon-taek (崔演澤)'s Eastern and Western Ancient History (東西古今) (1922). At the same time, the editors who used the storybook as a platform paid attention to the growth of the author of the storytelling in the modern period. This is an attempt to lay the foundation for a new understanding in the formal aspect of the reorganization of the times, along with the transitional nature of the stereotyped formal beauty of the Yadam linked from the late Joseon Dynasty to the modern era.